POST-FEMINISM AND POPULAR CULTURE Angela McRobbie Downloaded by [Tomsk State University Tul’skii gosudarstvennyi universitet] at 15 March. KEYWORDS girl power, individualism, popular feminism, postfeminism . Angela McRobbie, “Post-Feminism and Popular Culture,” Feminist Media Studies. Post-Feminism and Beyond Angela Mcrobbie . It was through the intersections of popular and political culture that feminism was undone and, hey presto, was.

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This was a hegemonic process aiming at what Stuart Hall would call a kind of gender populad regarding the status and identity of young women. Since then this new kind of sophisticated anti-feminism has become a recurring feature across the landscape of both popular and also political culture.

For McRobbie, contemporary popular culture expresses what has been termed “post feminism”. They were to be encouraged at achieve in school, at university and in the world of work and in each of these spheres they could rightly expect norms of gender equality to prevail. In “Post Feminism and Popular Culture” Feminist Media Studies 4, feminist cultural researcher Angela McRobbie argues that popular culture during the 9o’s is characterized angepa a set back from the achievements of the feminist movement.

Across the spectrum of European politics it is the small super-league of polished, professional women who gain prominence from their prestigious jobs.

Once again McRobbie has emerged as a confident feminist scholar of gender and culture, unafraid of making theoretical U-turns and taking risks. My mrobbie of interest in The Aftermath of Feminism was in what I termed a new sexual contract. Reading, Resisting, and Creating Media. Media and Communications Dates: The prevailing use of irony seemed to exonerate the culprits from the crime of offending against wngela was caricatured as a kind of extreme, and usually culrure feminism, while at the same time acknowledging that other, more acceptable, forms of feminism, had by now entered into the realms of common sense and were broadly acceptable.

There mrobbie nothing in her argument which documents the sustained attack on feminism and feminists which is also a defining feature of neoliberalism. For McRobbie, post feminism as it is expressed in popular culture relies on the achievements of feminism.

Feminism is associated with the past and with old and unglamorous women Germaine Greer in the UK, Alice Schwartzer in Germany and this encourages a dis-identification with feminism on the part of young women.

This is a currently emerging phenomenon, hence my tentative tone.

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There are changes here which suggest the forging of a more explicit conjoining of neo-liberal policies, if not with feminism, then with an idea of modern womanhood. Newer Post Older Post Home. Queer Girls and Popular Culture: This granting of some degree of freedom or capacity to women, and with this the idea that western women are nowadays liberated from tradition, becomes, at the same time, the means and the measure of a new form of capture postfemnism control.


From Jackie to Just In terms of scholarship on queer and feminist cultural negotiations the work of Susan Driver and Mary Mcrobbue Kearney offer other productive ways of thinking about how girls and young women can actively resist and rework dominant cultural meanings to produce other ways of becoming intelligible subjects that disrupt heterosexist logics. Thank goodness, the image seemed to popualr, we can now, once again, enjoy looking at the bodies of beautiful women with impunity.

Fraser sees unwitting collusion on the part of feminism here which, she argues, not uncontroversially, had by the time at which neoliberalism was on the ascendant, subordinated or suspended? When relating to post feminism in the context of popular culture McRobbie denies the view on post feminism as a conservative reaction to the achievements of feminism.

In Feminism and Youth Culture: Duke University Press, pp. So skilful with the use of postmodern irony was the image, that it also sought to produce a kind of generational divide, the younger female viewer is not made angry, unlike her older counterpart.

Political Culture, Popular Culture and Young Women The scale of this undertaking, a re-making of modern young womanhood so as to suggest that feminism has indeed been taken into account, required the active participation of the media and popular culture.

The work of the Operaismo writers would presumably make a similar case for women though they pay little or no attention to gender in their writing. The argument I proposed in The Aftermath of Feminism was that within the passage to a new form of neo-liberal governmentality, young women came to occupy a key position, indeed they became exemplary subjects McRobbie This then is the legacy of post-feminism and female individualisation process, that there are spaces for the top girls to become elite women who may not be completely averse now to calling themselves feminists.

Cultural Reader: Angela McRobbie – “Post Feminism and Popular Culture” – summary and review

Indeed it is a mark of their cultural intelligibility as young women that they renounce or disavow the need for a new sexual politics. Under this new gender regime the subjectivities of young women are defined and described in a repetitive manner in popular and political discourses along the lines of female individualisation.

Aftermath is not based on empirical fieldwork but consists of an innovative theoretical synthesis; McRobbie performs a comprehensive theoretical backtrack to explore the loss of a feminist subject in British popular culture now entrenched in a post-feminist neo-liberal capitalist global economy.

As long as she did not become a single mother who would be reliant on welfare she could gain access to sexual pleasures which in the past had always been the privilege of men hence the new female market for soft pornography and the growth of so-called porn chic.

Postfeminism is defined by class, age, and racial exclusions; it is youth-obsessed and white and middle-class by default. Post Feminism and Popular Culture: Remember that you can manage the cookies yourself by changing the settings on your browser. Government would at that time provide supports and incentives to do well, to gain high qualifications and to aim for the financial independence of the monthly salary.


Personally I found myself taking sharp in-breaths as McRobbie spun out an increasing sense of loss, pessimism, and lack of confidence in new generations of young women. We might ponder how and why this has happened. Post feminism views these achievements as socially and culturally “obvious”.

During the Blair years political life was increasingly linked with the pursuit of a narrow professional career mcrbobie Westminster, best left to those few for whom this was a life-choice. This economic independence marked a shift away from wnd on the male breadwinner model and promised women greater freedom while also ideally taking the burden away from the state following marital breakdown or divorce.

Post-Feminism and Beyond Angela Mcrobbie – MOCAK

I would prefer to re-cast this debate about the recent and current status of women in terms powtfeminism what Foucault famously calls day-to-day governmentality, rather than focus on the meta-structures of capital and labour. From Jackie to Just 17McRobbie constructed a progressive cultural shift that angdla gains in new sexual freedoms and power for young women.

This activity on the part of government, designed to give a bigger place to consumer culture in the politics of everyday life, marked out not just a recognition of the power of media and popular culture to forge a world of cohesive values but also a neo-liberal strategy of offloading the work of government into a more self-regulating terrain whereby the market is given more leeway to shape the needs of ange,a population, in this case young women. Some of these popular culture depictions of modern ncrobbie use their freedom to chose in adopting female behavioral patterns which feminism tried to abolish.

She makes it sound as though there was simply a convergence even a seemingly fortuitous liaison. Those who are exceptions to this rule are somehow abnormal. Consisting of six chapters, Popklar articulates several interconnected arguments in her exploration of contemporary operations of gender, power and popular culture.

These images appeared, in a celebratory fashion, to reverse the clock, turning it back to some earlier pre-feminist moment, while at the same time doing so in a rather tongue-in-cheek kind of way.

The second part of Angela McRobbie’s “Post Feminism and Popular Culture” uses her critical agenda in analyzing the film “The Bridget Jones Diary” in a manner that illustrates her argument that post feminism is shaping the way women are portrayed in recent popular culture.